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Source: https://writers.stackexchange.com/a/46340
License name: CC BY-SA 3.0
License URL: https://creativecommons.org/licenses/by-sa/3.0/

Source: https://writers.stackexchange.com/a/46340
License name: CC BY-SA 3.0
License URL: https://creativecommons.org/licenses/by-sa/3.0/

I think instead of creating the language, you can save a lot of time by just doing as you did in the question: Decide on features of the language that will make a psychological difference in the character's communications, how they think or feel.

You can read some tutorials on creating a conlang, but instead of creating one, borrow the features you want (two pronouns for "you", different pronouns for male and female, different forms of address based on class, etc).

Then decide on the psychological effects, which is all you are _really_ after. Then adhere to that psychology for whatever you intend to write.

Language does influence psychology; I read a study years ago about two languages that used gendered language for nouns; i.e. inanimate objects were considered "male" or "female". But they differed in their gender assignment on some objects. So, for example, a bridge over a chasm was male in one language, and the native speakers asked to describe a bridge used male correlates: It was 'strong', 'sturdy', 'steady', etc. Words used much more often as admirable male attributes, than admirable female attributes.

In the other language bridges were _female_, and the native speakers asked to describe it used female correlates: It was 'graceful', 'beautiful', 'lovely', and so on. Words used much more often as admirable female attributes, than admirable male attributes.

What you are seeking in fiction (at pretty much all times) is **conflict** , so what you should be looking for in this exercise is the ability for one character (the writer) to cause the others cognitive dissonance, misunderstanding or confusion due to the way the language is used. That is the payoff, minor conflict and difficulty understanding what is written. It is not absolutely necessary, but these little forms of conflict, problems and misunderstandings, force readers to engage and wonder how they will be resolved, and they keep turning pages to find out why.

Original score: 9